Kuskovo is currently one of the most popular museums in the country. Constant interest in it is caused not only by the art monuments located there, but also by its history associated with the names of people who took part in its creation. Among them are famous architects, artists and actors, including serfs.
The available literature on Kuskovo still does not reflect some aspects of its formation, its features as a historical and cultural complex are not fully revealed, the question of the role of serfs and the participation of individual architects and artists in the creation of the ensemble is not sufficiently resolved. Being fond of describing the preserved buildings and their interior, researchers almost did not dwell on the history of these structures. The names of the creators of a number of Kuskov buildings and the time of their construction remain controversial or unknown. Meanwhile, archival sources allow us to identify the process of evolution of Kuskov as a historical and artistic complex, which developed under the influence of the latest achievements of Russian and European culture.
The history of Kuskov is closely connected with the process of transformation of the nobles into large landowners, who became the mainstay of the autocracy. "Own "or" personal " noble villages developed as aristocratic fiefdoms and stood out from other estates. They formed a specific way of life of rich nobles, which had a "pleasure" character. Judging by the preserved early descriptions of such villages, including Kuskov, initially (late XVI - early XVII centuries) they had purely utilitarian buildings: the "boyar's yard", the yards of "business" people, priests, and a church. In 1623-1624. Kuskovo was located on an area of 20 villages, and the population consisted of 8 peasants and 10 bobyli, who were engaged in breeding fish in artificial ponds and keeping livestock .1
1 TsGIA OF the USSR, f. 1088, op. 9, d. 19, l. 2.
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In the middle of the 17th century, psari, sokolniki, and gardeners began to appear among the service personnel of their "own" villages .2 They were engaged in growing fruits and berries before, but now they began to pay special attention to the cultivation of various medicinal and fragrant herbs, ornamental shrubs, and flowers. In the second half of the 17th century, the change in various aspects of noble life becomes especially noticeable. Imported items and luxury items began to occupy an increasing place in the decoration of the interiors of rich houses: furniture made of expensive wood with gilded carvings, inlaid with mother-of-pearl, silver, etc. Intricate wooden mansions and stone churches in the Naryshkin Baroque style appear in their" own " villages, and planned gardens with flower beds, greenhouses, and gazebos are laid out.
Features of Kuskov's evolution in the 18th century were associated with the socio-economic development of Russia, the growth of the political and economic power of the nobility, and the ideological orientation of the autocracy's policy. Over the course of a century, Kuskovo has gone through three stages in its development. In the first half of the 18th century, he was influenced by the ideas of established absolutism, the principles of regularity and regularization characteristic of the culture of Peter's time. The construction of suburban villages of the upper nobility was carried out according to approved "model" projects. Such projects were developed by architect D. Trezzini in 1721 for St. Petersburg's "famous" residents, and I. Ya.Blank later compiled an album-book with drawings of regular land layouts for the Moscow region.
For the layout of Kuskovo in the late 1730s, an "exemplary" project was used. There was a regular garden with a three-part division, an open middle and a main alley decorated with marble sculptures. Among the buildings of that time, documents call garden pavilions: a grotto, a greenhouse, gazebos, a stone church of 1737-1739 that has survived to our time, and one-story wooden mansions. Busy with his service in St. Petersburg, the owner of Kuskov P. B. Sheremetev visited it on arrival and only after his marriage to Princess V. A. Cherkasskaya in 1743 did he constantly spend the summer time here.
In the 1750s and 60s, Kuskovo became the ceremonial residence of a major dignitary. The establishment of Russian absolutism was accompanied by a desire for ostentatious effect, pomp, and representativeness of such estates. This was also reflected in the concept of the ideological and artistic direction of that time - the Baroque style, in which the understanding of beauty was identified with wealth. Contemporaries noted that the houses were built with a large number of rooms, were furnished with mahogany furniture, the walls were covered with expensive wallpaper, the number of courtyards increased.
The appearance of Kuskov in those years underwent significant changes. The flat area has acquired a picturesque character thanks to terraces, mounds, canals, ponds, green spaces. A large regular garden was designed with a mandatory architectural layout, a system of canals, fountains, ponds, cascades, an amphitheater, a maze, covered roads ("berso"), gazebos. The garden was decorated with flower beds, marble sculptures, trees and shrubs trimmed in the shape of various figures. In 1749 - 1754, new two-story wooden mansions and Dutch and Italian houses, a grotto, a large stone greenhouse, and the Hermitage were built.
Construction was carried out according to a single plan - the "big map", made by Yu.I. Kologrivov. His name is closely connected with the history of Kuskov in the late 40s-mid 50s of the XVIII century. All researchers consider his activity only as a manager for the Cherkassks, and then for P. B. Sheremetev. The discovered new documents allow us to speak about Kologrivov as an architect, the author of the layout and individual structures of Kuskov, including the Dutch and Italian houses. He probably came from an impoverished boyar family .3 His father was listed as a steward of Tsarina Natalia Kirillovna. He himself was an orderly of Peter I, and from 1718-a chamberlain. Apparently, one of the first Kologrivovs was sent to Rome for a special mission.
2 Ibid., ll. 806. - 9ob. At that time, the population in suburban villages was growing sharply; for example, in Ostankino it reached 208 people; in 1623-1624 there were only 65 people.
3 Kaminskaya A. G. Yuri Ivanovich Kologrivov-a figure of Russian artistic culture in the first half of the XVIII century. Author's abstract of the cand. diss. L. 1982.
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get an architectural education. However, he was unable to complete the entire training course. He was constantly distracted by the king's errands to acquire various objects of art: 4 paintings, sculptures, books, various tools;
he invited specialists to the Russian service: artists, architects, mechanics, gardeners, gilders, etc . 5. In 1716, Kologrivov supervised the teaching of architecture to Russian students sent to Italy, among whom were later well-known P. M. Eropkin and T. V. Kologrivov. Usov 6 .
Despite such a brilliant position, Kologrivov refused to comply with the order of Peter I to return to Russia and mysteriously disappeared in Italy for many years. It appeared only after the death of Peter I, in 1727. Researchers believe that the reason for Kologrivov's mysterious behavior is his involvement in the case of Tsarevich Alexey 7 . Kologrivov's involvement in subsequent political events is evidenced by his arrest after the fall of Prime Minister A. P. Volynsky, who tried to fight the Bironov regime. Kologrivov had close ties with him and the members of his circle. Only the sudden death of Anna Ivanovna brought him out of prison. After these events, Kologrivov moved to Moscow, where he was in the service of Prince A. M. Cherkassky. Kologrivov had a long-standing friendship with him. During the service of the prince, Kologrivov was assigned the duties of a manager and architect.
After the death of Princess M. Y. Cherkasskaya, Kologrivov joined P. B. Sheremetev in the same capacity .8 He was also engaged in design and construction for P. I. Musin-Pushkin, Volynsky, and others . 9 Having conceived the reconstruction of Kuskov into his grand residence, Sheremetev attracted Kologrivov to implement this idea. In various documents of that time regarding construction works, his name is constantly mentioned. In December 1750, before leaving for St. Petersburg, the count addressed Kologrivov a memorial note - "Memorial to Yurya Ivanovich", in which he listed the construction works planned for Kuskov in 1751. Their management is entrusted to Kologrivov: all artisans assigned to the Moscow Sheremetev house are subordinate to him, and the funds allocated for construction are concentrated in his hands .10 The documents allow us to consider Kologrivov as the main architect of Kuskov in the middle of the XVIII century, according to whose projects and under whose leadership the general layout of the ensemble was carried out, which has been preserved to this day. This is reflected in the appearance of Kuskov. Stylistic and compositional features of the village's layout bring it closer to the landscape art of the first quarter of the XVIII century. They misled one of the researchers of the monument, V. V. Zgur, who mistakenly attributed it to the 1720s and early 1730s .11
After Kologrivov's death (1754), 12 the serf architect F. S. Argunov completed the finishing works on the Italian house, built a kitchen, a gazebo on the canal, and recreated the wooden galleries near the Dutch house. The Great Stone Greenhouse (1761-1765) and the Hermitage (1765-1767) were already being built under the direction of the Moscow architect K. I. Blank, who, apparently, from 1761 was attracted by P. B. Sheremetev to the construction work in Kuskov and until the 90s of the XVIII century remained its chief architect. During the construction of the Hermitage, which
4 Kaminskaya A. G. On the history of acquiring the statue of Venus Tauride. In: Problems of development of Russian Art. Issue XIV. l. 1981.
5 200th anniversary of His Imperial Majesty's Cabinet. 1704 - 1904. Historical research. St. Petersburg, 1911, pp. 110-111; Borisova E. A. "Architectural students" of the Petrovsky period. In: Russian Art of the first quarter of the XVIII century, Moscow, 1974.
6 With his knowledge of architecture, Kologrivov created a three-year program for them. The first year of study included studying the theory of architecture, arithmetic, geometry, optics, perspective, mechanics, painting, sculpture, drawing, engraving, history, and language. Then the pensioners worked in construction for two years, acquiring practical skills.
7 Kaminskaya A. G. Yuri Ivanovich Kologrivov. In: Problems of development of Russian Art. Issue XII, l. 1980, pp. 17-18.
8 TsGIA USSR, f. 1088, op. 9, d. 1015, l. 7; d. 1032, l. 29ob., d. 743, l. 29.
9 Kaminskaya A. G. Yuri Ivanovich Kologrivov-a figure of Russian artistic culture in the first half of the XVIII century, p. 15.
10 TsGIA SSSR. f. 1088, op. 3, d. 99, l.2ob.
11 Zgura V. V. Kuskovo, Moscow, 1925, pp. 9-10,
12 TsGIA of the USSR, f. 1088, op. 3, d. 866, ll. 31-33.
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in terms of its architectural merits, it belongs already to the early classical buildings, probably the project of V. I. Bazhenov was used. This assumption is based on the similarity of the architecture of the Kuskovsky Hermitage and the garden pavilion of the Maly Trianon (Versailles), built by J. A. Gabriel in the 60s of the XVIII century. (Bazhenov was in France at that time), as well as primarily on stylistic techniques and decorative elements of finishing the Hermitage in Kuskov, characteristic of Bazhenov's creative handwriting.
Kuskovo in the middle of the XVIII century was designed according to the established scheme of European royal and royal residences. It was one of the best examples of country residences of this type. The appearance of the village corresponded to the position of its owner-a representative of the highest aristocracy. P. B. Sheremetev demonstrated the magnificent design of his residence during numerous receptions, including in honor of Elizabeth Petrovna in 1754. The same purpose was served by an engraved album depicting Kuskov views, which Sheremetev generously presented to guests. Understanding the artistic value of the Kuskovsky ensemble, the count also presented this album to the Academy of Arts.
The beginning of the 70s of the XVIII century - the third period of construction of Kuskov. Its owners are now guided by the cultural and aesthetic ideals of classicism. Next to the former ensemble, an architectural and park complex with a landscape park, many decorative structures, residential buildings and a theater, which was created in 1776-1778, appears here13 . The Sheremetyevo Theater was distinguished by the high skill of the troupe, complex technical equipment of theatrical actions, a serious repertoire and reached a high professional level. Standing out among other private theaters, it had a significant impact on the development of Russian theatrical art at the turn of the XVIII-XIX centuries.
The architectural and park ensemble created in Kuskovo in the 70s-80s of the XVIII century has not been completely preserved. All the more valuable is the information about the existing buildings of the ensemble. This primarily applies to the history of the construction of the main building of the ensemble-the palace. According to archival data, the time of its construction is 1777-1779. Construction was supervised by Blank. Probably, the palace was built according to Bazhenov's design for the Moscow house of K. G. Razumovsky on Vozdvizhenka (now Kalinin Avenue, 6). Furniture, upholstery fabrics, lamps for the new house were made in Paris by special order of the owner.
In 1770-1780 a new complex with a landscape park was built. Landscape views of the park were built on alternating areas planted with trees and shrubs, with open clearings. Various buildings were built in the park "under the supervision "(since 1779) of the serf architect A. F. Mironov. All these buildings are imbued with an idyllic spirit, for example, the philosopher's house, upholstered on the outside with birch bark; the Chaumiere pavilion, covered with straw on top. A special group consisted of buildings in the Southern Chinese style: a Chinese house, a dragon cave, a Chinese gazebo. The new residential complex consisted of the solitude house of P. B. Sheremetev, the house of his son, and a living wing called the Founder's Village. An art gallery building was built in the park, where portraits of Russian and European political figures were collected.
The construction of the Kuskovsky complex at all its stages was carried out by the efforts of a large number of people. It included both ordinary performers and specialists (Kologrivov and Blank). N. P. Sheremetev also consulted I. E. Starov, D. Quarenghi, and V. Brenna. The performers of their plans and projects, as a rule, were Sheremetyevo craftsmen. In 1767, according to the "staff", Kuskov was assigned 125 domestic servants, divided by occupation into craftsmen, doormen, rowers, garden crew, etc. In the courtyards were recruited "from the villages near Moscow beztyaglovye, and more bobyli from 17 not older than 30 and more single" and children of courtyards 14 . Boys who graduated from the Kuskovskaya school were defined "to different arts" according to their inclinations and abilities. All craftsmen were trained in the necessary specialties, for which they were given under contract to third-party craftsmen for a period of 2 to 5 years or assigned to their own, home ones.
High artistic level of kus-
13 Tam zh., d. 471, l. 20ob.
14 Ibid., d. 131, l. 53.
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The Kovo complex determined the same level of professional training of serf craftsmen, many of whom were trained by leading specialists of their time. Thus, D. Golovtsov studied with the architect I. E. Starov, S. Sokolov - with the court carver Leblon, and the painter-decorator G. Mukhin-with P. Gonzago. The nature of the work of these craftsmen was determined by the degree of their talent and acquired professional skills. A special place is occupied by the Argunov family, from which came two architects and three artists who left a significant mark on the history of Russian culture. The Argunovs actively participated in the creation of the Kuskovsky ensemble at various stages of its existence.
Most of the Sheremetyevo fortress craftsmen were used to perform simple work, repair or prevent Kuskov buildings. The unprofitability of using forced labor and the impracticability of detaching a large number of people from the ground became obvious already at the beginning of the construction of Kuskov. The low labor productivity of serfs forced the owners to turn to hired labor to perform large-scale and labor-intensive work. A lot of outside specialists were also involved in the performance of artistic works. The documents contain the names of decorative artists I. Volokhov, Valesini, F. Hilferding, Keller, A. Claudi; carvers Girk, P. Spol, Kork, Leblon; gilders N. Ivanov, Sharman; sculptors F. G. Gordeev, G. T. Zamaraev. Together with the serfs, actors and musicians invited from outside also played on the stage of the Sheremetyevo theater.
Due to their disenfranchised status, the serfs ' craftsmen could not defend their own artistic and aesthetic principles when creating the Kuskovsky ensemble. Their work, abilities and talent were used only in the right direction for their owner. Hence the tasks assigned to the serf architects, artists and actors: the visual means used by them had to correspond to the general direction of the plan. The nature of the activities of the serfs who took part in the creation of the Kuskovsky ensemble, of course, was not uniform. In addition, there were fewer of them than hired specialists. The construction of Kuskov is the result of joint activity of a diverse social group of craftsmen.
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